• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• The Journal of Korean Philosophical History
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• no.59
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• pp.261-286
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• 2018

It is possible to communicate with objects in various styles, but especially the poem[詩], the ode[賦], the inscription[銘] are remarkable. The word is not the mouth, but the mind and the soul. Therefore, if a person is in a relationship with an object that defines the person, what conversation with the object is the person's inner. So if you know what a person has been with things, you can imagine his outer surface, and you can get inner if you know what you talked about. Seo Kyung-duk who lived a poverty life, but can not live without things, so his things are not a thing, Seo Kyung-duk also recorded especially about the dojookjang[bamboo cane], the buchae[fan], and the $k{\breve{o}}mungo$[Korean lute] Seo Kyung-duk with the buchae, Seo Kyung-duk with the dojookjang, and Seo Kyung-duk with the $k{\breve{o}}mungo$. These are the pictures we can imagine. And I can draw Seo Kyung-duk to talk with those things. Seo Kyung-duk, who is reflected in the dojookjang, shows the reality of participating in the rescue of the people's hardships and the stubborn world. Seo Kyung-duk, who is reflected in the buchae, is a philosopher who explores the origin of existence with the appearance of realistic preachers who have to wash away the difficulties of the people. Seo Kyung-duk, who is reflected in the $k{\breve{o}}mungo$, is a philosopher who grasps Ki(氣) the phenomenon and the source, the immaterial and the material, the type and the intangible. Both the strings and non-strings are $k{\breve{o}}mungos$. The $k{\breve{o}}mungo$ is strong in ideology symbolizing the Confucianism ideological ideals, and Seok Kyung-duk is also in the extension line. Seo Gyeong-deok, who has seen through the dojookjang, the buchae, and the $k{\breve{o}}mungo$ has a realistic sense of realizing that he should worry about the pain of the world and fulfill a good world. He is a philosopher who pierces the root of existence and can be governed by the logic of Ki(氣).

• The Journal of Korean Philosophical History
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• no.50
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• pp.201-234
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• 2016

This thesis examined interpreting methodology of Do Won Lew Seung Kug(1923~2011) is based on the principle of Juhng-yaug. His lifelong academic aim was searching for the theory that enables global community to co-exist peacefully through humanitarianism that leads to reconciliation and mutual benefits. The research of the history of Korean thoughts provided him with the clue for his theory. According to Do Won, Korean thoughts pursue the Juhng-yaug's value of 'Yin and Yang accordance' rather than the I-Ching's value of 'suppress Yin and elevate Yang'. He furthermore asserts the concept of the middle (中), which harmonizes the two extremes by human beings as main agents, has been consistently observed from the action of divination during the ancient period through Juhng-yaug in the late 19th century. Do Won identifies 'human maturity that integrates the extremely conflicting insistences and values and seeks to be reconciled' as the basic character of Korean thoughts. He explains 'Hongikingan[弘益人間, becoming beneficial to the human world] is the idea that embraces the conflicting values symbolized by heaven and the earth. He also illuminates that Choe Chi Won(崔致遠)'s created Poongliu Do by integrating heterogeneity among Confucianism, Buddhim, and Daoism and it was attainable through the various works of mature human beings. Both Toe Gye' s philosophy of Ingeuk(人極, the Great Ultimate of Person) and the concept of Innaecheon(人乃天, Human Being right is Heaven) of Donghak are excellent examples of Humanitarianism that sublate two extremes. In Korea, the prototype of this thought has penetrated its entire history in the various circumstances of the period. The grand finale is Juhng-yaug of which the pursued values are 'Yin and Yang accordance' and mature humanitarianism revealed by the thoughts of the Person of the Central Ultimate (皇極人,至人) and Central Ultimate (皇極). Therefore, Humanitarianism in Korean thoughts clearly makes its appearance by the time of Juhng-yaug and it functions as a keyword to illuminate the entire history of Korean thoughts in reverse.

• (The)Study of the Eastern Classic
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• no.72
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• pp.35-66
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• 2018

This thesis has examined Jo Guimyeong's observation method and rhetoric of style of writing style. He tried to look at the world differently through observation and expressed relationship with the world through the style of comic. $J{\breve{o}}nggwan$ is a new way of looking at subjects and objects. It trust the senses and thoughts of the subject. So It is to clarify the circumstances and logic of the world from one's own point of view. In this case, it collides with the common thinking of the day. He put the reason and the action standard in the "taste" and the "mind". This means three things. First, he is proud that his reasons and actions are no different from those of a saint. Second, an individual is an independent being with different emotions and thoughts. Third, based on this, his works of literature have their own value. These reasons and actions were incarnated through '$J{\breve{o}}nggwan$(靜觀)'s observation methods. What he gained from the three stages of $J{\breve{o}}nggwan$(靜觀)' is the 'great mind'. The first step is self-reflection. It is the process of objectifying oneself. The second target is the appearance of things. It's about looking at everything equally, whether it's precious or vulgar. The third object of observation is a harmonic. He is joining the movement of the harmonizers. Therefore, one's own reasons, actions, and works of literature share the same meaning as those of a harmonizer. He said that the description can change according to his own knowledge. It means that you can fit the situation. A typical example was the analysis of 'Sung Bo hyung hwasangchan'<成甫兄畵像贊>. He described Park Moon-soo's life as the lives of officials through comic. Through this, He criticized Park Moon-soo's natural nature of the academic world. but the situation in which he can't escape from bureaucratic life by inducing laughter. This style of writing is one of the most representative features which was written by Jo Guimyeong writer.

• (The)Study of the Eastern Classic
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• no.54
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• pp.77-102
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• 2014

The study will examine SeongHo Lee Yik(星湖 李瀷)'s thought through his ZhongYongJiShu("中庸疾書"). The book is said that dealing with what was not dealt with in ZhongYongZhanJu("中庸章句") by one's own understanding gained through doubt(懷疑를 통한 自得) is ZhongYongJiShu("中庸疾書"). As with a metaphor of a peach in HouShuo("後說"), SeongHo(星湖) wrote ZhongYongJiShu("中庸疾書") based on his own understanding through skepticism. He divides the chapters of the book using a different method. Chapters 2 to 11 are considered as KongziZhongYong(孔子中庸) that is, quotes of Confucius, and chapters 12 to 30 as explanatory texts that offer explanations of the quotes. Chapter 1 is preface and chapter 33 closing remark. However, a clear explanation is required for the reason why chapter 1 should be preface and chapter 33 should be closing remark. SeongHo(星湖) offers an explanation for the appearance of ZhongYong("中庸") in the title of the book. He indicated that for giving life to the meaning of chapter 1, ZhongHe(中和) should have been used in the place of ZhongYong ("中庸"), but since it was the preface of KongziZhongYong(孔子中庸), Zhong Yong("中庸") was used from KongziZhongYong(孔子中庸). SeongHo(星湖) followed XingJiLi(性卽理) based on the interpretation of chapter 1 and chapter 20. In this way, he followed a Neo-Confucian proposition which is called XingJiLi(性卽理), defining Xing(性). That showed his interpretation was still based on Zhuzi(朱子). According to SeongHo(星湖), ZhongYong("中庸") is mainly on Cheng(誠), and he dealt with Cheng(誠) in ZhongYong("中庸"). Since Cheng(誠) is an important concept in the later part of the book, ZhongYongJiShu("中庸疾書") was focusing on Cheng(誠) for the later part. However, Cheng(誠) was a concept that was not paid much attention than KongziZhongYong(孔子中庸), so it is just a part of explanatory texts, according to SeongHo(星湖).

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.206-219
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• 2021

The warming of the climate is increasing the damage caused by termites to wooden buildings, cultural properties and houses. A group removal system can be installed around the building to detect and remove termite damage; however, if the site is not visited regularly, every one to two months, you cannot observe whether termites have spread within, and it is difficult to take prompt effective action. In addition, since the system is installed and operated in an exposed state for a long period of time, it may be ineffective or damaged, resulting in a loss of function. Furthermore if the system is installed near a cultural site, it may affect the aesthetic environment of the site. In this study, we created a detection system that uses wood, cellulose, magnets, and magnetic sensors to determine whether termites have entered the area. The data was then transferred to a low power LoRa Network which displayed the results without the necessity of visiting the site. The wood was made in the shape of a pile, and holes were made from the top to the bottom to make it easier for termites to enter and produce a cellulose sample. The cellulose sample was made in a cylindrical shape with a magnet wrapped in cellulose and inserted into the top of a hole in the wood. Then, the upper part of the wood pile was covered with a stopper to prevent foreign matter from entering. It also served to block external factors such as light and rainfall, and to create an environment where termites could add cellulose samples. When the cellulose was added by the termites, a space was created around the magnet, causing the magnet to either fall or tilt. The magnetic sensor inside the stopper was fixed on the top of the cellulose sample and measured the change in the distance between the magnet and the sensor according to the movement of the magnet. In outdoor experiments, 11 cellulose samples were inserted into the wood detection system and the termite inflow was confirmed through the movement of the magnet without visiting the site within 5 to 17 days. When making further improvements to the function and operation of the system it in the future, it is possible to confirm that termites have invaded without visiting the site. Then it is also possible to reduce damage and fruiting due to product exposure, and which would improve the condition and appearance of cultural properties.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.138-163
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• 2021

The Buyeo Wangheungsa Temple was excavated 15 times by the Buyeo National Research Institute of Cultural Heritage by 2015. In doing this, it was confirmed that the attached buildings were placed in the east and west along with the central Sangharama building. Various building sites were established in the western section of the temple, and various buildings were placed inside, and this pattern was estimated in the eastern section. In this article, the structure and function of the attached buildings of the Wangheungsa Temple were focused on the planar structure and excavated artifacts. The most distinctive feature of the attached buildings of the Wangheungsa Temple is their construction alongside the central Sangharama building. It is different from the building to the Neungsan-ri Temple, which was expanded gradually. The attached buildings in the east and west of the lecture hall are presumed to be living space for monks who used solitary rooms, and the attached buildings in the east and west of the main hall were a combination of public work space used for things such as administration, ceremonies, and reception. Next, looking at the outer space of the central Sangharama, the western section was likely constructed at the same time as the central Sangharama. However, if you look at the building site inside the western section, the function has been changed in two stages. The first stage was a ritual space, and it is evident that the western section has a separate entrance and sidewalk and that the workshop was used as a monastery space in the second stage. Finally, there is a distinct possibility that the eastern part of the complex was an important section. Although this space is presumed to be composed of triple towers and halls, it must be have been approached in various ways and included structures related to the operation of temples, such as the monastery space. From this point on, the overall appearance of Baekje temples can be recovered through access to temple structures in a wide variety of ways, including studies of the attached buildings.

• Journal of Environmental Impact Assessment
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• v.30 no.1
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• pp.13-23
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• 2021

In this study, we performed a Random Walker analysis to predict the Major Movement Paths of otters. The scope of the research was a simulation analysis with a radius of 7.5 km set as the final range centered on the Ansim-wetland in Daegu City, and a field survey was used to verify the model. The number of virtual otters was set to 1,000, the number of moving steps was set to 1,000 steps per grid, and simulations were performed on a total of 841 grids. As a result of the analysis, an average of 147.6 objects arrived at the boundary point under the condition of an interval of 50 m. As a result of the simulation verification, 8 points (13.1%) were found in the area where the movement probability was very high, and 9 points (14.8%) were found in the area where the movement probability was high. On the other hand, in areas with low movement paths probabilities, there were 8 points (13.1%) in low areas and 4 points (6.6%) in very low areas. Simulation verification results In areas with high otter values, the actual otter format probability was particularly high. In addition, as a result of investigating the correlation with the otter appearance point according to the unit area of the evaluation star of the movement probability, it seems that 6.8 traces were found per unit area in the area where the movement probability is the highest. In areas where the probability of movement is low, analysis was performed at 0.1 points. On the side where otters use the major movement paths of the river area, the normal level was exceeded, and as a result, in the area, 23 (63.9%), many form traces were found, along the major movement paths of the simulation. It turned out that the actual otter inhabits. The EN-Simulator analysis can predict how spatial properties affect the likelihood of major movement paths selection, and the analytical values are used to utilize additional habitats within the major movement paths. It is judged that it can be used as basic data such as to grasp the danger area of road kill in advance and prevent it.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.

• Conservation Science in Museum
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• v.26
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• pp.161-182
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• 2021

A jungwangu, a type of medium-sized mortar, is a firearm with a barrel and a bowl-shaped projectileloading component. A bigyeokjincheonroe (bombshell) or a danseok (stone ball) could be used as a projectile. According to the Hwaposik eonhae (Korean Translation of the Method of Production and Use of Artillery, 1635) by Yi Seo, mortars were classified into four types according to its size: large, medium, small, or extra-small. A total of three mortars from the Joseon period have survived, including one large mortar (Treasure No. 857) and two medium versions (Treasure Nos. 858 and 859). In this study, the production method for medium mortars was investigated based on scientific analysis of the two extant medium mortars, respectively housed in the Jinju National Museum (Treasure No. 858) and the Korea Naval Academy Museum (Treasure No. 859). Since only two medium mortars remain in Korea, detailed specifications were compared between them based on precise 3D scanning information of the items, and the measurements were compared with the figures in relevant records from the period. According to the investigation, the two mortars showed only a minute difference in overall size but their weight differed by 5,507 grams. In particular, the location of the wick hole and the length of the handle were distinct. The extant medium mortars are highly similar to the specifications listed in the Hwaposik eonhae. The composition of the medium mortars was analyzed and compared with other bronze gunpowder weapons. The surface composition analysis showed that the medium mortars were made of a ternary alloy of Cu-Sn-Pb with average respective proportions of (wt%) 85.24, 10.16, and 2.98. The material composition of the medium mortars was very similar to the average composition of the small gun from the Joseon period analyzed in previous research. It also showed a similarity with that of bronze gun-metal from medieval Europe. The casting technique was investigated based on a casting defect on the surface and the CT image. Judging by the mold line on the side, it appears that they were made in a piece-mold wherein the mold was halved and using a vertical design with molten metal poured through the end of the chamber and the muzzle was at the bottom. Chaplets, an auxiliary device that fixed the mold and the core to the barrel wall, were identified, which may have been applied to maintain the uniformity of the barrel wall. While the two medium mortars (Treasure Nos. 858 and 859) are highly similar to each other in appearance, considering the difference in the arrangement of the chaplets between the two items it is likely that a different mold design was used for each item.